In this petulant note—written in haste by an old man whose crankiness was exacerbated by a recent attack of kidney stones—we can sense the frustration that came from a lifetime spent battling those who viewed his profession with contempt. In the face of the skeptics and scoffers, Michelangelo promoted a new conception of the artist, one in which the crass demands of commerce and the demeaning associations of manual labor have been sloughed off to reveal a creature as yet ill-defined but still thoroughly magnificent. . . .
Michelangelo's determination to chart a new course embroiled him in endless quarrels as his claim of superiority clashed with his employers' own considerable egos. While patrons tended to regard him and his colleagues as, at best, highly trained professionals tasked with carrying out their vision, Michelangelo insisted on an unprecedented degree of freedom to pursue his own vision, on his own terms. Cardinal Cervini (soon to be elected Pope Marcellus II), in charge of overseeing the rebuilding of St. Peter's, was one of many who discovered how difficult it was to control the headstrong artist. When he asked Michelangelo to inform him of his plans, the artist snapped; "I am not obligated, nor do I intend to be obliged to say either to your highness or to any other person what I am bound or desirous to do." Even when his relationship with a patron was one of mutual respect, Michelangelo chafed at any restrictions placed on his freedom. "If Your Holiness wishes me to accomplish anything," he wrote to Pope Clement VII, "I beg you not to have authorities set over me in my own trade, but to have faith in me and give me a free hand. Your Holiness will see what I shall accomplish and the account I shall give of myself."
Miles J. Unger, Michelangelo: A Life in Six Masterpieces
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| Michelangelo Moses c 1513-16 marble sculpture |











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